Why are ‘Star Wars’ fans mad at Amy Schumer? | News Entertainment

Why are ‘Star Wars’ fans mad at Amy Schumer?

18 Jul 2015 | Author: | No comments yet »

Amy Schumer’s racy Star Wars-inspired GQ cover gets a thumbs down from fans – and LucasFilm.

At the world premiere of “Trainwreck” at the SXSW Film Festival last March, the loudest laughs from inside the theater came from the film’s director Judd Apatow. James, of course, is coming to a big screen near you Friday night alongside comedians Amy Schumer and Bill Hader in Judd Apatow’s “Trainwreck.” The film centers on the awkwardly endearing love story between Schumer’s and Hader’s characters, with James playing Hader’s famous, but quirky best friend.The outspoken comedienne hasn’t held back in her shoot for the men’s magazine, not least in a cover snap in which she is seen wearing a Princess Leia-style bikini suggestively sucking C-3PO’s finger.If you’ve watched TV, read a magazine, walked around a major city, or simply been online in the last few weeks, it’s likely you’ve come across Amy Schumer at least a few dozen times.

The Emmy nominations on Thursday validated a number of raunchy and troubling performances by women in both comedy and drama – lending credence to the idea that likeability is no longer the key to success for female characters. Slumped down in a seat behind his new star Amy Schumer, Apatow was so invested in the story about a 30-something magazine journalist who emerges from a series of one-night stands to begrudgingly find true love, that he actually shushed a nearby, mortified fan who tried to open a candy wrapper. Other snaps feature Amy – whose new movie Trainwreck is released in the US this week – sitting naked in bed with Threepio and R2-D2, as well as posing provocatively with a lightsabre. The newly minted Emmy nominee has found plenty of praise and success for her Comedy Central series Inside Amy Schumer, been on the cover of GQ, Entertainment Weekly, and many more, and now she’s debuting in her first lead film role with the Judd Apatow-directed Trainwreck. Find out what the critics have to say on Rotten Tomatoes. “Guardians of the Galaxy” proved that even Marvel’s second-string heroes could shine on the big screen.

Here, an opening-weekend look at the rapid rise of the raunchy comedian, bringer of viral sketch videos and feminist hero If promotion is an art, Hollywood isn’t so much its genius as its pantheon of deities, the fount from which attention-grabbing springs. Then there’s veteran Lily Tomlin, a six-time Emmy winner who pulls no punches as a feisty, sexually explicit woman in her 70s in Netflix’s new comedy Grace and Frankie. He’s in the film’s starting lineup and, unlike the NBA Finals, he’s winning. (Although, actually, he still succeeded in that, too, considering he won the ESPY this week for “best championship performance.”) James plays a version of himself, which The Atlantic’s Christopher Orr calls, “the cleverest counter-self-portrait since Michael Cera’s coke-addled sex fiend in ‘This is the End.’ ” The film version of James pinches pennies and loves “Downton Abbey,” which is a good setup considering James is incredibly wealthy and his real-life favorite TV show is “Martin.” Indeed, the New York Times’ Manohla Dargis says, James delivers a “surprisingly limber comic presence,” a feat that seemingly surprised her as she called the NBA star’s inclusion in the cast “a heat-seeking gimmick.” But gimmick, it is not, says The Chicago Sun Times’s Richard Roeper. “James holds his own in scenes with Hader and Schumer, and that’s pretty darn impressive.” The word “impressive” also showed up in The Los Angeles Times’ Rebecca Keegan‘s review. Critics say “Ant-Man” continues the trend — it’s an energetic, tongue-in-cheek caper flick that builds to a thrilling climax, even if it doesn’t deviate much from Marvel’s established template.

She said, “His performance reflects impressive off-court timing and a sense of humor about his own image.” “James is charming in the part,” The Hollywood Reporter’s John DeFore writes. Though her career has been on a steady rise since Comedy Central plucked her from the other also-rans of Last Comic Standing, it wasn’t even a year ago that Schumer still just a solid comedy second-liner, namesake of reasonably successful sketch show with occasional bouts of virality, probably not even the most famous or think-pieced of that surprisingly robust stratum. You’re seeing a deepening of the female character across the board.” Uzo Aduba knows something about that, as the woman who plays the deeply damaged Crazy Eyes in Netflix female prison saga Orange Is The New Black and last year won the Emmy for best guest actress in a comedy. Donning a suit that allows him to change size, Lang must infiltrate Pym’s old lab in order to ensure that a revolutionary technology doesn’t fall into the wrong hands. “Ant-Man” is Certified Fresh at 77% on Rotten Tomatoes’ Tomatometer; check out some of the reviews here: Fresh: “Rudd’s charm and an overall sense of silliness make for breezy summer fun. That assessment just seems churlish in light of the last three months: starting with a well-earned MTV Movie Awards hosting slot, and an even more well-deserved Peabody, Schumer has become one of those expectionally rare comedians on whom almost everyone has (or should have) an opinion, a staple runner of the next-day “you have to see Amy Schumer take on [blank]” content treadmill; her current status is somewhere between mouthy magazine cover star and feminist philosopher queen.

She was nominated again on Thursday, this time in the drama supporting actress category. “What I feel when I watch our show is that a collection of different types of people can actually be engaging to audiences, if the story is true and if it’s honest,” Aduba said. She’s profiling a sports physician (Bill Hader), but the assignment quickly transforms into something, much to Amy’s surprise, that could possibly lead to a more long-term connection. It’s also Marvel’s most kid-friendly movie yet.” — Rafer Guzman, Newsday Fresh: “You can’t have a good ‘Ant-Man’ movie without a good Ant-Man, and in the genial and charming everyman Paul Rudd, the filmmakers have done it right.” — Kenneth Turan, Los Angeles Times Rotten: “A film that will surely be popular, given Marvel’s marketing might, but one that’s woefully short on coherence and originality.” — Joe Morgenstern, Wall Street Journal Raucous, raunchy, and insightful, “Inside Amy Schumer” is TV sketch comedy that soars on its star’s irrepressible charisma. In a Hollywood long filled with laments over the lack of good parts for women, television gets higher marks than film for pushing the boundaries for females. “We had a meaningful increase in the number of women nominated in director and writing categories, a terrific amount of diversity in front of the camera, and in storytelling,” said Bruce Rosenblum, Television Academy chairman and CEO.

Critics say Schumer’s personality shines through in “Trainwreck,” a sharp romantic comedy that’s both laugh-out-loud funny and occasionally quite touching. In fairness, though, they’re really only subtle evolutions from undercurrents she’s been playing in since the show’s beginning, albeit to smaller audiences. As it happens, Schumer was also nominated for directing and writing her feminist satire, a no-holds-barred takedown of her ditzy, selfish, promiscuous self. “I wasn’t surprised given the amount of acclaim,” said Cynthia Littleton, managing editor of television for Variety. “That woman just has momentum on momentum.” But beyond the film’s central question of Amy’s romance, there’s a few larger ones that loom over the film: Is Trainwreck another example of Schumer’s sharp, culturally relevant comedy, or does it fall prey to the trappings of the romantic comedies it seems built to criticize?

Among the sketches that landed her on the viral watch list were “Last F–kable Day,” which eviscerated the end of actresses’s erotic desirability with a celebrity-laden celebration of Julia Louis-Dreyfus’s “last f–kable day,” and the episode-length parody “Twelve Angry Men Inside Amy Schumer,” featuring character actors including Paul Giamatti and Jeff Goldblum debating whether she is hot enough for Hollywood. Both clever and profane, they’re nevertheless different mostly because of the star power Schumer is now able to draw into her orbit — she’s said both of those things (in mildly less ambitious ways) in the 20 episodes before, too. For some, the answer seems to be a resounding yes, as EW’s Chris Nashawaty, in his B+ review, called the film “ one of the freshest and filthiest coming-out parties in a while. Rather than toning down [Schumer’s] prickly persona to conform to the studio cookie cutter, she stays true to what makes her laugh.” “Trainwreck isn’t so radical that it subverts the formulaically feel-good ending implied in its setup.

And she’s blessed with the perfect opposite number in Hader ” — Ann Hornaday, Washington Post Fresh: “If you’re looking for something radical, you’d be best to stick with Schumer’s television show. ‘Trainwreck’ is just good fun, and a lot of it at that.” — Lindsey Bahr, Associated Press Rotten: “Romantic comedies can go in all sorts of directions, but they depend on the audience’s believing that a couple should get together and stay together. Still, there is some kind of victory even in this, that Schumer can remain unadulterated and still attract the most powerful spotlights — particularly since her ideas are so intimately tied into her comedy, given really almost no cover, other than being quite funny. Plenty of stars these days are happy to beat a feminist drum in interviews and at award shows, but relatively few, even among other comedians, are wrestling with it in such direct, contemporary ways in their actual work.

But Schumer gives their raunchy rom-com enough of her signature spikiness to prevent it from ever feeling predictable.” “What’s energizing and exciting about Amy, especially when compared with the sexless cuties populating rom-coms, in which female pleasure is often expressed through shopping, is that her erotic appetites aren’t problems that she needs to narratively solve and vanquish. From picking apart the subtle art of automatically deflecting compliments to unabashedly (and, to a degree, exaggeratedly) discussing her sex life with proud abandon, nearly everything she says on her show and on stage openly addresses how women live now, and how often they explicitly and implicitly get the s–t end of the stick, still.

She likes sex, thanks, as an early montage of her shuffling through various men nicely illustrates.” “In scenes like the argument with Hader’s Aaron — and even more so a stirring funeral eulogy she delivers — Schumer also reveals surprising range, displaying a true vulnerability that explains the tossed barbs and empty bottles. His subtle, often wordless reactions perfectly punctuate scenes such as when sports-hating Amy claims her favorite team is the Orlando Blooms.” “The movie boasts the best title of any comedy this summer. Not only has the coverage of Schumer mercifully resisted most hints of the “why aren’t there more funny women” canard — even as former Disney CEOs have kept this nonsense up — but at virtually no point has it been assumed that Schumer speaks for all or even most women: she’s possibly the first woman to be de-facto treated like she has a point of view, not the point of view. Even her allies are not afraid to pick apart her messages, not worried that by pointing out perceived flaws they risk blotting out a higher idea, nor lulled into contentment by the mere blessed presence of someone, anyone saying one particular thing that needs saying, whatever else they’re overlooking. Some of that is just the increasing prevalence of a diverse array of voices in niche areas, but no doubt a degree of the confidence comes from the fact you can also find a degree of this diversity in the mainstream, too.

But she is just enough of a train wreck to be unpleasant, selfish and obnoxious.” “What makes the movie feel sharp and new is that Schumer acknowledges the self-loathing, the self-sabotage, that can roil the psyche of even a bright, sexually powerful woman in a society that mostly values supermodels. She just plays her observations for comedy, sometimes rueful, more often outrageous, while knowing the sadness will leak through on its own.” “And while the picture is occasionally very funny — because when she lets loose, Schumer does have a fantastic, loosey-goosey wiliness — it also feels carefully constructed to make its points, chief among them that men can get away with all kinds of bad or crazy behavior that women can’t.” “With films such as Funny People and This Is 40, Apatow has toyed with finding the right blend of the serious and the hilarious and finally hits it here. As much as that’s a societal shift, Schumer has done her part, too, whether that’s drawing in the likes of Fey, Louis-Dreyfus and Patricia Arquette for that “f–kable” sketch, surrounding herself with other women writers (most notably co-executive producer Jessi Klein) or giving showcases to voices like Tig Notaro (in an earlier season) or Bridget Everett (whose cabaret parody closed the most recent one).

Whether you end up liking Amy or not, you feel for her on her journey, and that’s a testament to the director/star chemistry.” “Schumer has never had anything like a leading film role, but self-revealing stand-up and a TV series have limbered her up for the job. None of this is an endpoint of any kind — however blind Schumer might be on race, for instance, the people who write her cheques remain significantly blinder — but it is at least encouraging that even someone in the highest gears of the Hollywood publicity machine can still have her voice emerge; it’s even more encouraging that the voice is rightly situated as one of many, however loud it might be for the moment. If she doesn’t have quite the range of some other nascent stars Apatow has worked with, her writing makes up for it, and she’s comfortable enough with the director’s trademark improvisation that Trainwreck plays as if it were fully scripted.” “The film is full of terrific sequences, moments and notions—you don’t care if it feels hit or miss when there are many more hits than misses. But then Amy’s life gets to be no laughing matter, the tone turns tentative, the jokes turn sour, the momentum slows and the previously irrepressible energy feels false. I thought, “This is a very unique personality and I’d like to see these stories in movies.” In the middle of “Freaks and Geeks,” Jake Kasdan and I were watching Seth Rogen shoot this scene and we went, “We think he’s a movie star.” It just hit us in a flash.

The filmmakers try to regain their footing with storytelling strategies that include a fantasy device notable only for its leaden execution, and a grotesquely overproduced climax. Afterwards, she watches the tape of the show and is mortified by her performance. “It was kind of like there was nowhere to go but up,” she later said.

But the problem proves insoluble, because the love affair between Amy and Aaron has itself been a fantasy from the start; in the end it can’t withstand serious scrutiny. “ “Though a movie like Trainwreck sounds filthy enough, it cleans itself up as it goes along—setting off at a rough lick, yet soon displaying signs of moral decency. Universal Studios has been very supportive of us trying to break new people. “The 40-Year-Old Virgin” worked well for them, and “Knocked Up” for Seth and Katherine [Heigl], and “Forgetting Sarah Marshall” with Jason Segel. As in previous Apatow films, the temptations of togetherness eventually drown the siren call of the boudoir. “ “Amy Schumer makes you laugh till it hurts. Ellen DeGeneres takes notice of the emerging comedian and invites her onto her show. “She saw (Last Comic Standing) and she brought my name up, which is like, that just made my life,” Schumer said at the time. “That feels like the best thing that’s happened so far.” On the comedy club circuit, Schumer moves up from opening for comics like Jim Norton to headlining. She’s selected by John Oliver to perform a set on John Oliver’s Stand Up Special alongside some people named Marc Maron, Maria Bamford and Hannibal Buress.

Referring to his co-star Ryan Dunn, who was killed in a drunk driving accident, she says: “I am — no joke — sorry for the loss of your friend Ryan Dunn. But now, he like, expects me to go to his graduation.” Schumer is back for another Comedy Central roast, this time going after Roseanne Barr. “Roseanne, you have the voice of a parakeet and the face of a much fatter parakeet. I didn’t realize it until we worked on “Knocked Up”—little piece of behavior, the way [my wife] Leslie Mann and I talked to each other was funny, and people related to it. No detail of her sex and dating life is off limits, including telling a prudish bridal party: “One time, I let a cab driver finger me.” The cab driver has yet to confirm the story. That’s what I learned from Garry Shandling: “The closer you are to the truth, the better the comedy will be.” I never do any re-writing [on another writer’s script].

The double entendre of the title helps to signal its core raunchy feminism, as does its very first sketch, a send-up of infamous porn video Two Girls, One Cup. The team comes up with an idea for a sketch in which an actress’s sexual desirability has a literal expiration date, but producers can’t find any stars willing to play along. I remember Jonah Hill when he did “Superbad,” you sensed for him things that changed overnight in terms of enormous recognition the weekend after the movie opened. The season begins with a sketch commenting on objectification of women in showbiz where a focus group of men discusses what they think of Schumer and her TV show. She tells a story of a disappointing sexual encounter that taught her to be her own fairy godmother, concluding: “I am a woman with thoughts and questions and s–t-to say.

In a post called “Apatow’s Funny-Chubby Community Has New Member,” film and TV critic Jeff Wells criticizes the director for casting the “unattractive” Schumer. End of conversation.” Schumer, a fan of the Bachelorette, appears on the show to coach the contestant in stand-up comedy to woo bachelorette Kaitlyn Bristowe. Schumer accepts the Trailblazer Award at the Glamour UK’s Women of the Year Awards, giving a gracious, disjointed speech, most memorable for the line, “I’m probably like 160 pounds right now and I can catch a dick whenever I want — like, that’s the truth.

Schumer confirms she turned down Comedy Central’s offer to host The Daily Show, saying, “picturing being in a building and knowing what I was going to do for five years — I love not knowing. And I apologize if I did.” Schumer graces the glossy cover of Glamour’s August issue with a headline “Bow Down, It’s Amy.” In the cover story, Schumer sums up her aspirations as a feminist icon saying, “I want to make women laugh.

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